[stylist] FW: Writers' division - Slate & Style Winter-Spring 2014

[Bridgit Pollpeter via stylist]

Thank you, Jackie. We try to give you guys the best we can. It took more
time than normal to get this issue out, but I'm grateful for all the
help with S & S, and equally appreciate our readers.

Bridgit

-----Original Message-----
From: stylist [mailto:stylist-bounces at nfbnet.org] On Behalf Of Jackie
Williams via stylist
Sent: Sunday, May 18, 2014 6:06 PM
To: 'Writer's Division Mailing List'
Subject: [stylist] FW: Writers' division - Slate & Style Winter-Spring
2014


I sent this to Robert, thinking it would go on the list. I wanted to
make sure you  all got this, though perhaps you already did. So see
below. Jackie
 
 
From: Jackie Williams [mailto:jackieleepoet at cox.net] 
Sent: Friday, May 16, 2014 10:03 AM
To: 'newmanrl at cox.net'
Subject: RE: Writers' division - Slate & Style Winter-Spring 2014 
 
Robert, Bridgit, Ross, and Chris,
What a superb issue? It was informative about the must know issues, but
beyond that, I loved the selections in different genres, and the pieces
about the genre of Creative non-fiction and about publishing. 
I will long remember the poem of Bonnie's, "I remember Purple," and
Myrna's piece about her mother. Having just lost a brother to Pick's
Disease, her Integration of her loss into her mental and emotional life
was both sensitive and inspiring. More to her later. I thank you all so
much for your work in bringing this superb work of visually impaired
writers to everyone's attention. You make me feel proud to be a
recipient of your skills and thoughts.
 
 
Jacqui Williams
From: Robert Leslie Newman [mailto:newmanrl at cox.net] 
Sent: Wednesday, May 14, 2014 12:44 PM
To: Robert Leslie Newman
Subject: Writers' division - Slate & Style Winter-Spring 2014 
 
Hi you all: below and attached is a copy of the latest issue of Slate &
Style! (Note; sorry about my last message in which the emails appeared
within the body of the message.)
 
SlateNFB_whozidt
              &
            Style
 
 
Publication of the National Federation of the Blind Writers' Division
 
Winter/Spring 2014
 
Vol. 32, No. 1
 


 


Slate & Style
 
Winter/Spring 2014
 
 
Senior Editor:               Bridgit Kuenning-Pollpeter,
<mailto:bpollpeter at hotmail.com> bpollpeter at hotmail.com
Assistant Editor:           Chris Kuell,  <mailto:ckuell at comcast.net>
ckuell at comcast.net
Layout Editor:               Ross Pollpeter,
<mailto:rpollpeter at hotmail.com> rpollpeter at hotmail.com
President:                     Robert Leslie Newman,
<mailto:bpollpeter at hotmail.com> newmanrl at cox.net
 
 
Slate & Style is a quarterly publication of the National Federation of
the Blind Writers' Division. Submission guidelines are printed at the
end of this publication. The editor and division president have the
right to cut and revise submissions. The senior editor and Division
president have final authority regarding publication for any submission.
 
Slate & Style is a magazine showcasing literary writing as well as
articles providing information and helpful advice about various writing
formats. While a publication of the National Federation of the Blind,
submissions don't have to be specific to blindness or the NFB.


 
Slate & Style
 
Winter/Spring 2014
 
Table of Contents
 
>From the Keyboard of the President By Robert Leslie Newman. 2
I Remember Purple By Bonnie Lannom... 5
THE CHANGING FACE OF PUBLISHING        By Phyllis Campbell 7
The Tornado By Umer Sohail 10
Blood Song: New Fantasy Series You Can't Miss By Bridgit
Kuenning-Pollpeter 13 The 4th Genre: Creative Nonfiction- What it is and
How to Employ it By Bridgit Kuenning-Pollpeter 15
 
 
 



>From the Desk of the Editor
By Bridgit Kuenning-Pollpeter

 
Welcome to our recent issue of Slate & Style. We apologize for the
lateness in getting S & S to you, but the magazine has once again
undergone some changes.
 
Unfortunately, as of this issue, we will no longer offer hard-copy
Braille issues. Our Braille distributor, Victor Hemphill, is no longer
able to provide Braille for the magazine. The Division hopes to find
another volunteer willing to emboss and distribute Braille copies for
us, or find alternative funding to continue Braille. For now though,
Slate & Style will only be available electronically. We apologize for
any inconvenience.
 
The NFBs national convention is around the corner. It will be held in
Orlando, Florida, July 1 through 6, 2014 at the Rosen Center resort.
Make your reservations soon. Call (800) 204-7234.
 
As former attendees can tell you, national convention is an amazing
experience. It's an opportunity to network with other blind people,
learn what is happening with the Federation and blind-related issues and
have some summer fun. NFB Writers' will also hold events during
convention, so don't miss out.
 
Stylist has been active lately. Members have once again been posting
their work, and it's provided a chance to read and give constructive
feedback. Poetry, in particular, has been a topic of interest.
 
We've discussed post-modern poetry, and how it has developed. We've
looked at how to best approach poetry, and some have shared their work.
 
Discussions about equality have been a theme as well. And we've learned
quite a bit about how other minorities view the equality issue. Sharing
our opinions and thoughts has allowed us to digest information, shaping
our views and making us better writers.
 
Slate & Style appreciates your support. We hope you enjoy this issue.
 
We are sad to announce the death of Loraine Stayer, long-time
Federationist and one of the founding members of the Writers' Division.
 
Loraine was not blind, but she was a dedicated Federationist. In one of
her final conversations with her husband, she gave him his marching
orders to continue the work of the NFB.
 
She was a founding member of the Division, and was the first editor of
Slate & Style. This magazine remains as a testament to Loraine's
devotion to the Division and Federation.
 
Lori Stayer was born in Brooklyn but lived in various states growing up.
She graduated from Lindenhurst High in 1963 and Queens College with a BA
in English and Education.
 
Stayer began writing at the age of 13, and she never stopped. She was
published locally and nationally, and self-published a novel. She
co-founded the NFB Writers Division in 1982 with the help of other
Federation members who also felt Writers needed a place to hang their
hats. She served as editor for the Edgar Cayce newsletter, Slate & Style
(1982-2008) and Musings of Maturity (2007- present). Her main focus was
novel writing along with teaching writing in several locations. 
 
Another pastime of hers was painting animals and landscapes.
 
She is survived by husband David Stayer, to whom she was married to for
42 years, and two daughters. Lori and David shared 12 grandchildren.
 
Lori will be proud of the work the Division and Federation continue to
do.
 
Sincerely,
Bridgit Kuenning-Pollpeter, editor, Slate & Style
 
 
 



>From the Keyboard of the President
By Robert Leslie Newman

 
Welcome to this new issue of Slate & Style (S&S). Thinking about the
history of our magazine, our first issue ever of the mag was Volume 1
Issue 1, in November 1982. Our Editor was Loraine Stayer. Of the writers
published in the first issue, Loraine Stayer was the only contributor
who remained a member of the Division until recently. Loraine recently
passed away; she will be missed.
 
I wish to comment on the 32-year history of S & S, its development and
evolution. For example, let's look at the length and composition of S&S
from then to now. The 1982 issue consisted of eight pages, and our
current issues average between 30 and 40 pages. The article length in
that first issue ranged from a word count of 331 up to 1,197. Our
current average in each issue ranges up to 700 words for a book review,
1,500 for articles and 4,000 for stories.
 
We now also have special editions, starting with the anthology of last
year's writing contest winners, compiled by S & S staffers. And last
year, S & S introduced a holiday issue. If you missed it, a copy for
download is available on our Division's website. Visit:
http://writers.nfb.org. I encourage all of you to submit poetry, short
fiction or personal essays/memoirs for the 2014 holiday issue.
Submission guidelines for the holiday issue can be found later in this
issue. Thank you Bridgit and your editing team.
 
2014 Annual Convention Planning: 
Convention again this year will take place in Orlando, Florida. The
dates are July 1-6. The place is the Rosen Centre Hotel. Make your room
reservation as soon as possible with the Rosen Centre staff only. Call
(800) 204-7234.
 
Our Division events are as follows: 
 
Wednesday, July 2nd, 4:00-5 p.m.
 
Our fifth writing workshop for teens, with the topic of play writing.
 
Thursday, July 3rd, 1:30-4:30 p.m.
Our WRITERS' DIVISION BUSINESS MEETING: Updating members on Division
business, announcing the 2014 winners of the youth and adult writing
contests, learning about play writing, and planning for the future.
 
Now, as I wrap up my From the Keyboard article, the thought provoker I
leave you with is entitled, "Early Numbers Can Effect Later Lives': A
call to parents, educators and rehab professionals. "
 
Within the Federation, we often talk about the miserable employment
statistics existing among working-age blind people. It seems that the
70-plus percent of us who are unemployed, has not budged lower since we
first put a number to it. I got to thinking, I've not seen an article
addressing what age specifically does this percentage begin calculating.

 
Visualize the following: You are in a large auditorium, seated in the
center of the front row. The presenter is positioned at the center of
the stage. To the right of the presenter, stands a line of 100 high
school and college students, each holding a long white cane.
 
A second similar group stands on the presenter's left, though this group
is not sporting a cane because they are sighted. 
 
The presenter states:
 
"Over the years, many studies have been conducted determining the
percentages of employed school-age workers, emphasizing the comparison
between those who are blind and those who are sighted. And though the
numbers of either group will vary from decade to decade, the
proportional differences do not seem to vary. Today's presentation will
provide you with a new view of the employment picture. It will
demonstrate how for many blind people, it begins at birth." 
 
The presenter turns to his left, facing the sighted group of students
and
says: "Those of you students who are employed, take one step forward."
Obeying the command, over half of the line steps out. 
 
"The number for employed sighted students is 62 out of 100," reports the
presenter. 
 
The presenter turns to his right, facing the students with white canes,
and says, "Students who are blind and employed, please step forward."
Canes tapping, a small section of the line step forward.
 
"As you can see, a noticeably smaller portion of the 100 stepped
forward," reports the presenter. "In fact, just ten."
 
Addressing the audience, the presenter says, "Before sharing how many of
these students will be employed one year after graduating, let me point
out a few relevant comments. Many will agree that working while a
student can greatly benefit graduates with future employment. It's a
truth that cannot be stressed enough. Consider what a hiring supervisor
thinks when viewing two young applicants, one with meaningful job
experience, one with little to no job experience."
 
The presenter pauses for affect.
 
"Now we will view the numbers for graduates who are employed within one
year of finishing their education."
 
Turning again toward the sighted group, the presenter says, "Those of
you employed one year after graduation, pleas step forward." Obeying, a
larger portion of the line than before steps forward.
 
Looking out into the audience, the presenter says, "It's now quicker to
count those who did not step forward than those who did. Among the
sighted, 85 out of 100 are working."
 
Turning back to his right, he says to the blind students, "Those
graduates who are blind and are employed within one year of graduating,
please step forward." Again, for this group, only a small percentage
stepped forward.
 
Again, speaking to the audience, the presenter says, "We have 25 people
who stepped forward, leaving 75 unemployed." 
 
The working game starts early, is played often and if you wish to build
a life after completing school, you must attempt employment while a
student. And so yes, getting that diploma is important. Getting high
marks in each subject, preparing you for future success, is smart.
However, don't lose sight of the importance of that other subject
outside the classroom, employment.
 
In conclusion, I will leave you with a quote from the bible of the
vocational counselor, "Employment begets employment."
 
 



I Remember Purple
By Bonnie Lannom

 
My eyes grew dim, and the colors, they fade.
Purple, blue, green, red, black, yellow, white, a watercolor left too
long in light. Familiar hues melt to sound, scent, taste, touch.
 
I remember purple!
Fields of lavender, shadow kissed mountains at dusk.
Grape ice on summer afternoons, pipe cleaner tickle of African violet's
touch. Yes, I remember purple.
 
I remember blue! Never true with her navy, baby, and periwinkle.
Tranquil trance of ocean depths, forgotten flash of my own fiery eyes in
that watery glance. The seductive moan of saxophone, Bone chilling blast
from air-conditioned room. How I remember blue.
 
I remember green!
So serene. Spring grass peeking through snow, light on pole screaming
goes. Running hum of mowing machine-heralding summer. I remember green.
 
I remember red! 
Gentle flame quelling winter chill, If not restrained, with lust to
kill. Polished flesh of waxen fruit. The searing heat in breast and
blood when anger rears her ugly head. 
Oh, how I remember red.
 
I remember black!
Infinite sky minus starry light, a chameleon among colors. She knows she
goes with everything. The powerful heel of party pump, confident clasp
of a single strand of pearls, the absolute silence when the curtain
falls. Oh, I remember black. 
 
I remember yellow! Of canary wing and cheese thing, dingy plush of
favorite stuffed dog with powers to make bedtime monsters obey. Smooth,
tart taste of lemonade refreshingly sweet, cracked worn paper of old
books smelling of dust and time. 
Ah, I remember yellow.
 
I remember white!
Not as pure as you confess.
Like the straining lie of a pregnant bride's dress:
Crisp bed sheet scenting of sunlight, silence after snowfall. That is
white.
 
My colors!
A rainbow of forgotten sight, memory, shape, scent, sound, touch, taste.
For I remember purple.
 
I Remember Purple won an honorable mention for the 2013 NFB Writers'
writing contest.
 



THE CHANGING FACE OF PUBLISHING      
By Phyllis Campbell

 
Not too many years ago, self-publishing was literary suicide, unless
publishing scholarly works or such things as cookbooks. Now, with the
coming of EBooks, all that has changed.
 
Like most things in life, there are advantages and disadvantages for the
writer. Also like most things the choice is an individual one, depending
on a number of factors.
 
First: Your writing goals. Do you expect to make a lot of money? Does
the publishing itself mean more to you than money? Perhaps your goal is
a combination of the two? Only you can decide.
 
If you're looking for that big six-figure advance, stick with
conventional publishing. But if your goal is to write something that
will inform or entertain, and you can be patient about a financial
return, consider doing an Ebook. You won't get an advance, and you may
sell fewer titles, but your royalty is considerably higher, or you may
get to keep all the money, depending on your choice of publishers and
plans.
 
Firms such as Book Baby turn all sales proceeds over to you, but charge
a fee for conversion, cover design, publicity, distribution etc.,
depending on how much help you need. Others say they're completely free,
but offer tools for sale so that you can do the work yourself. 
 
Consider your situation realistically. Think about such things as your
budget, time, energy, ability and expectations. Of course, you may have
other considerations, so add them to your list. 
 
Check out various sites, make notes, and ask questions. If possible
check with those who have had experience with these sites, keeping in
mind that unlike man, all writers aren't created equal. The thing that
proved a stumbling block for one writer might be no problem for you, or
something simple for them might cause you to go running for the nearest
shelter. Be specific, ask how something is done, thus determining for
yourself if this would present a problem for you, giving special
attention to technical things that might confound your screen reader.
Above all, ask about any ethical or legal problems that others may have
encountered. 
 
I did a Google search and came up with a lot of good information,
including problems that had been reported, and in some cases
comparisons. Here, too, these are only the experiences of individuals,
but they will give you an idea of what to look for, and in some extreme
cases, avoid.
 
I chose a publisher that takes a part of the sale, paying the author 80
to 85 % of the list price, which is set by the author. I chose a cover
designer and formatter from an independent list furnished by the
publisher. Again individual needs must be taken into consideration. If,
for instance, your work doesn't need a lot of pictures, a table of
contents, or doesn't contain a foreign language, costs will be less.
 
If you choose to go this route, pay particular attention to the process
required to upload your manuscript to the publisher's site, especially
if using a screen reader. Some, such as Amazon, are murder, but I found
it worth it in terms of sales. Check the directions several times before
you start.
 
Perhaps you're asking, "Why do I need a formatter?" You may not. Each
publisher has somewhat different requirements, so here again look, and
ask. Please don't take formatting advice from someone unless that
someone has had experience with that particular publisher. Formatting
and guidelines set by one publisher, may be vastly different with
another publisher. Even if you pay someone to get your manuscript ready
for publication, it often should receive some relatively easy work
before going to the formatter, especially in the treatment of
paragraphing. Again, you've got it, look, ask. 
 
You may be perfectly capable of doing all of this work yourself. Before
making that decision, though, realize that you may find that it takes
not only know-how, but a lot of time and patience. If, after checking
out the requirements, you feel you can do it, go for it. You'll save
yourself some money, and know that it's done just the way you want it.
 
If all this sounds daunting, consider a publisher such as Book Baby.
They have varying plans, and you can actually reach a live person to
discuss them. Perhaps it was a lack of faith in my own ability that made
me choose not to go this route. I would have invested something over
two-hundred dollars, and may have sold ten books. With the royalty
route, above, I was only risking time, and a smaller amount of money.
You know your needs and your budget. Some writers say this is the
cheaper way to go.
 
For me, the biggest problem with electronic publishing is publicity. My
previous books were bought by conventional print publishers, who handled
publicity, press releases, radio and TV appearances etc. This said,
writers of today must take an active part in promoting their book,
regardless which way they go, especially in arranging local book
signings. Still, your electronic publisher gives no publicity except on
their own site.
 
With the coming of such things as FaceBook Author's Den, and various
BLOGS, publicity isn't the problem it once was, and you can easily do
your own press releases. Be warned, though. I find that newspapers etc.
aren't as receptive to EBooks' as to print titles. Hey, guys, join the
21st century.
 
So far I haven't solved the problem of signings for Ebooks, since there
are so many formats to take into consideration. There may be a solution
to this, but so far I haven't found it.
 
I confess that I've missed that heady feeling when signing books, or
appearing on TV, or having my book reviewed in the newspaper, but then I
tell myself that I was able to get my books out there long before I
became too senile to find my way to the mailbox to bring in my check.
And of course, there's the fact that my readers are my judge, not some
publisher, who may just hate my main character because she reminds her
of that girl who stole her boyfriend in the sixth grade.
 
Below is a short list of electronic publishers that I have checked out.
I'm not actually recommending any of them, but feel that they are sound.
All except Amazon distribute to many electronic distributors such as
Barnes And Noble, Apple, the list is quite long, but is about the same
for each. Some may distribute through their catalog to Amazon, but I
chose to go directly to Amazon as well. You may turn up many more.
 
1.   Smashwords-Pays royalty, provides list of cover designers, and a
well-written manual on formatting for their publishing needs, as well as
other titles on writing, some free. Very easy to work with, and willing
to answer questions. https.www.smashwords.com
2.   Lulu-Publishing is free, provides tools on site, provides other
services for a price.  <http://www.lulu.com> http://www.lulu.com
3.   Book Baby-Does not take a per cent of the sale, but costs,
depending on
how much you need them to do, seem easy to work with.
4.   Amazon-Really big, pays royalty, has directions for formatting, but
not
the greatest to work with. I feel this was due to their lack of
understanding of the problems involved with speech. The site was
cumbersome to me, but worth fooling with.  <http://www.amazon.com>
http://www.amazon.com. Link to Kindle Direct Publishing.
 
 



The Tornado
By Umer Sohail

 
One sunny day, a family relaxed on a beach by a calm lake. The family, a
father, his son and his baby, were eating a picnic lunch. The mother had
died two years before in a car accident. The father was sick with heart
disease. His name was Mario Williams. His son was Luwiji, and the baby
was Yoshee.
 
The wind started to pick up. The birds began racing away from the lake.
Yoshee started crying. Suddenly the sun was blocked out by a huge cloud.

 
"Dad, what's going on?" asked Luwiji. 
 
"This is very strange," said the father. "Let's leave." 
 
"I think this is a tornado. Let's hurry." His son worried about his
father's condition. 
 
The dad picked up the baby. "Let's get out of here." 
 
The lake was choppy and huge waves slammed into the beach. The family
ran for the car.
 
The boy in the lead ran up to the back door of the minivan. "Dad, "the
boy yelled. "The tornado will suck us up." 
 
"It is a risk we will have to take," shouted the father. "What are you
waiting for? Get in the car."
 
Just then, the van exploded. It had been hit by lightning. 
 
The man yelled, "Run." 
 
They all ran on to the beach. The lake roared like an enraged beast.
Huge waves were crashing over their knees as they ran. 
 
"Dad," yelled the boy. "Just wanted to let you know, I love you." 
 
"Don't talk, just keep running," said the dad. He was still carrying the
baby.
 
The other boy was sad about the destruction of the van. Just then, his
dad gasped and clutched his chest. He fell over, and the baby went
flying. 
 
The boy grabbed the baby and ran to his father. Luwiji did CPR. The
tornado roared as if it were happy about this event. Lightning flashed.
Slowly, the boy lifted his head. The heart was working barely, but it
would do for now.
 
He reached down and heaved his father up. The man groaned. His heart was
still very weak. The boy dragged his father along the beach. His father
struggled up to his feet. He staggered up the incline to the road. The
boy reached into his father's pocket and pulled out the cell phone. The
battery was dead. 
 
A second later, a rescue truck sped past on the road. The driver did not
even bother to stop to help them. He just roared on spewing exhaust and
fumes. The boy screamed at the disappearing truck to stop. Instead, the
driver gunned the engine and tore off in a cloud of mud. 
 
The father staggered. "Go on without me. I will just wait here." 
 
"No, dad." said the boy. 
 
"I said go." snarled the dad. Suddenly, he grabbed his chest and
collapsed. "Ta-ta-ta-take the baby with you." 
 
The tornado roared with rage. The boy picked up the baby and started
walking down the road. A huge black sedan pulled up and then drove on.
Luwiji waved at the sedan but it just kept driving. Luwiji walked along
the road looking for help. Just then a medevac helicopter flew above
them. Luwiji waved at the helicopter. The helicopter swung around and
landed in the road in front of them. The pilot came out and Luwiji told
him what had happened to his father. 
 
The pilot jumped into the helicopter with Luwiji and Yoshee. He flew
very slowly until they reached the man on the ground. The pilot jumped
out, right as the sun came out. The powerful wind stopped abruptly. 
 
"Quick, get back into the cabin." Shouted the pilot. "This is the eye of
the storm." 
The pilot picked up Luwiji's father and carried him into the craft.
Darkness blocked the sun again, and the wind howled with rage. Lightning
flashed all over. The pilot started the helicopter and rose into the
storm.
 
The father was hooked up to a mini life support system. The pilot flew
through the storm and landed at the nearest medical center. Once
landing, the sun broke free and the wind settled.
 
The boy ran behind the pilot into the medical center. He waited with
Yoshee in the waiting room. About six hours later, the door opened and
out stepped his father. 
 
"Dad." screamed the boy in joy. 
 
"Luwiji." the dad exclaimed. 
 
Luwiji told his father about his walk on the road. His father was very
grateful.
 
"If you had not come back when you did, I would have been dead." 
 
The storm traveled south, and the disaster was over.
 
The Tornado won third-place in the middle school category for the 2013
NFB Writers' writing contest. 
 



Blood Song: New Fantasy Series You Can't Miss
By Bridgit Kuenning-Pollpeter

 
I'm constantly searching for a book I can lose myself in. As a reader,
I've always sought those books that transport me out of time and mind,
and by the end, wondering what I will now do with my life.
 
For you fantasy fans, I've found the new book that will do everything
described above. Blood Song: Raven's Shadow, Book 1, Anthony Ryan,
Penguin Books, 2013, is a gripping, fast-paced novel with a compelling
protagonist.
 
Originally self-published, Blood Song was picked up by Penguin Books,
and Ryan has been given a three-book deal. Tower Lord, the second book
in the series, is slated to release in July 2014.
 
Vaelin Al Sorna is abandoned by his father after the death of Vaelin's
mother. He is given to the Sixth Order of the Faith, a military branch
of a religious order. The Order is vaguely similar to Knight Templars.
As Vaelin grows, enduring the rigorous training of the order, he
develops close friendships with a few of his brothers in training. Upon
graduating, Vaelin begins to develop a reputation as a warrior on the
battlefield. He and his friends also seek information about a legendary
Seventh Order to the Faith that may exist in secret, practicing magic,
or The Dark, as followers of the Faith refer to it.
 
Along the way, Vaelin learns of other cultures, has his faith
challenged, is compromised, encounters colorful characters and even
falls in love.
 
Similar to Name of the Wind, Patrick Rothfuss (2007, DAW Books) Game of
Thrones, George R. R. Martin (1996, Bantam Spectra) and of course, Lord
of the Rings, J. R. R. Tolkien (1954, George Allen and Unwin) Blood Song
still retains an individuality, a uniqueness. Unlike Game of Thrones and
Lord of the Rings, Blood Song doesn't get bogged down in the history and
culture of its world, the United Realm. The pacing is quick, not leaving
time for boredom or confusion. Yet Ryan has created a vibrant universe
with three-dimensional characters.
 
The characters draw you into this world, and Vaelin is their anchor. As
Vaelin finds himself compromised and challenged, he becomes a complex
character, revealing his imperfections. Most of the characters grow or
change in some way in this book, adding to the complexity of the
over-all arc of the story.
 
The writing is fluid and succinct despite all the information provided
in the book. As we learn about Vaelin, we also learn about the United
Realm. The book is told largely in chunks of flashbacks as Vaelin
unfolds his story to a scribe on the way to his potential execution. The
novel moves in time using the scribe as a catalyst for unraveling
Vaelin's history.
 
The tone is very similar to the three books previously mentioned, and at
the end of the day, there's a light versus dark plot evident in all
these books; Blood Song is no exception. The novel happens in a Middle
Earth-like world, yet there are enough similarities for readers to feel
drawn in. I found myself connecting the United Kingdom to much of our
world. And the religious factor never felt preachy or allegorical. The
religions mentioned in the book were unique to Ryan's world.
 
The book is long, 600-plus pages, but I couldn't put it down. Ryan's
world came to life, lifting off the pages, and by the end, I wanted
more. It's a bummer the second book won't release until later this year.
I highly recommend this book to any fantasy lover; a great read you will
lose yourself in.
 



The 4th Genre: Creative Nonfiction- What it is and How to Employ it By
Bridgit Kuenning-Pollpeter

 
Stylist and the Writers' Division have seen a growth in nonfiction
writers in the few years I've been involved. Likewise, creative
nonfiction is a growing and expanding genre. It is often a confusing
genre though, and despite the fact many of us read creative nonfiction
pieces frequently, we are not always aware of the genre itself.
 
I have my bachelors of fine arts from the University of Nebraska Omaha
where I studied creative writing in the Writer's Workshop program. My
concentration was in creative nonfiction. I was invited to pursue the
senior thesis in the Writers Workshop before graduating. For more
information about UNO's creative writing program, visit:
http://www.unomaha.edu/creativewriting/.
 
In an attempt to unveil the so-called fourth genre and hopefully shed
some new understanding of it, I will provide a brief over-view of
creative nonfiction. I will also provide names and titles from respected
practitioners of the genre at the conclusion.
 
Simply put, creative nonfiction is a branch of writing that employs the
literary techniques usually associated with fiction or poetry to report
on actual persons, places, or events, as defined by About.com.
http://grammar.about.com/od/c/g/creatnonfiction.htm
 
For material to be considered creative nonfiction, it must be based in
fact but written with attention to literary style and technique. The
ultimate goal of creative nonfiction writers is to communicate
information, just like a reporter, but shaping it as a narrative.
 
Patricia Hampl writes:
 
Memoir seeks a permanent home for feeling and image, a habitation where
they can live together. I persist in believing the event has value-after
all, I remember it-but in writing the memoir I did not simply relive the
experience. Rather, I explored the mysterious relationship between all
the images I could round up and the even more impacted feelings that
caused me to store the images safely away in memory. Stalking the
relationship, seeking the congruence between stored image and hidden
emotion-that's the real job of memoir (I Could Tell You Stories, 30).
 
Often referred to as literary nonfiction, narrative nonfiction,
nonfiction art and the fourth genre, Forms within this genre include,
but are not limited too:
*      biography
*      food writing
*      literary journalism
*      memoirs
*      personal essays
*      travel writing
*      other hybrid essays
 
Creative nonfiction is currently defined by its lack of established
conventions. The genre is structured like traditional fictional
narratives, but the content is based on real-life.
 
Creative nonfiction elements include:
*      Braiding narrative story-telling with fictional and poetical
techniques
*      Based on actual people, places and events
*      Uses tools of literary realism: scene-by-scene construction,
dialogue, point of view details
*      May rely on lyrical or poetical language, conjecture, metaphor
and
other fictional techniques
*      Provides a sense of place and time
*      Can use framing devices
 
Writers of creative nonfiction use standard elements of fiction to write
about real-life events. Each reads as if it is fiction with vivid
setting, character details, imagery and figurative language. The authors
arrange details to keep their readers attention, like a gripping plot
would do. But the source of all of these works is real life, according
to mshogue.com. http://www.mshogue.com/English_11/cnf.htm
 
Some creative nonfiction writers stick to more traditional forms and
techniques, while others are edgy and experimental.
 
The genre has been met with confusion especially when not given an
accurate description of the form. In the past decade, manuscripts have
been published and advertised as nonfiction when in reality, so-called
facts have been widely exaggerated and even completely falsified. These
books should not be considered legitimate creative nonfiction
manuscripts. A writer of this genre should not be making false claims
and lying.
 
The "creative" in the title is not a word allowing writers to
fictionalize material. Creative only affords one the ability to
construct nonfiction using techniques like scenic development, imagery
and metaphor, creative language, literary devices, conjecture, dialogue,
etc.
 
Rules to follow:
*      All material should be as truthful and reliable as possible.
*      Dialogue should be remembered to the best of your ability and not
completely fabricated.
*      Do not exaggerate real-life events in which to create a
compelling
narrative.
*      Be fair with all subject matter and people used in the telling of
your story.
 
Having said all that, the problem of any nonfiction writer is too
accurately portray the truth. When it comes to memoirs and personal
essays (I use these two terms to cover all forms of creative nonfiction)
we are writing from memory, and we capture memories to the best of our
abilities. Likewise, when writing about events and people not personal
to us, we take research, interviews and any other information used to
learn about a subject, and we create a narrative as accurately as
possible.
 
In creative nonfiction, there's a bit more room for a grey understanding
of reality as opposed to black-and-white forms of nonfiction such as
journalism and history books.
 
Melanie McGrath, author of Silvertown, which is written in a novelist's
idiom, says that the known facts of her stories are: the canvas on to
which I have embroidered. Some of the facts have slipped through the
holes - we no longer know them nor have any means of verifying them -
and in these cases I have reimagined scenes or reconstructed events in a
way I believe reflects the essence of the scene or the event in the
minds and hearts of the people who lived through it. To my mind this
literary tinkering does not alter the more profound truth of the story
(Wikipedia.com). http://en.wikipedia.org/wiki/Creative_nonfiction
 
It's the job of the creative nonfiction writer to portray the truth, but
that truth is based off of our own collective knowledge, values and
understanding of any given situation. Creative nonfiction provides us
the opportunity to explore individual truths.
 
Hampl writes, "Instinctively, we go to our store of private associations
for our authority to speak of these weighty issues. We find, in our
details and broken, obscured images, the language of symbol. Here memory
impulsively reaches out and embraces imagination. That is the resort to
invention. It isn't a lie, but an act of necessity, as the innate urge
to locate truth always is," (I Could Tell You Stories, 31).
 
When writing about events and people outside our personal world,
creative nonfiction allows us to ponder potential truths. We rely on
research and existing information in order to relay facts, but we can
delve into potentials; we can use conjecture and create "perhaps" or
"what-if" moments.
 
Duncan Barrett and Nuala Calvi, authors of The Sugar Girls, a novelistic
story based on interviews with former sugar-factory workers, make a
similar
point:
 
Although we have tried to remain faithful to what our interviewees have
told us, at a distance of over half a century many memories are
understandably incomplete, and where necessary we have used our own
research, and our imaginations, to fill in the gaps. However, the
essence of the stories related here is true, as they were told to us by
those who experienced them at first hand (Wikipedia.com).
http://en.wikipedia.org/wiki/Creative_nonfiction
 
Another distinguishable difference noted in creative nonfiction is the
universal truth. The genre seeks to find a thread connecting the world
through specific events in daily life. Whether personal or not, you
write to ignite a spark in the reader. You are not necessarily writing
in order to tell your story, but to tell your story in an attempt to
find a universal meaning. It's the camera moving away from the close-up,
the canvas employing more color the further away the eye moves from a
singular object.
 
Hampl writes:
Some people think of autobiographical writing as the precious occupation
of the unusually self-absorbed. Couldn't the same accusation is hurled
at a lyric poet, at a novelist-at anyone with the audacity to present a
personal point of view? True memoir is written, like all literature, in
an attempt to find not only a self but a world. The self-absorption that
seems to be the impetus and embarrassment of autobiography turns into
(or perhaps always
was) a hunger for the world. Actually, it begins as hunger for a world,
one gone or lost, effaced by time or a more sudden brutality. But in the
act of remembering, the personal environment expands, resonates beyond
itself, beyond its "subject," into the endless and tragic recollection
that is history, (I Could Tell You Stories, 36).
 
Creative nonfiction often draws upon the past in order to make sense of
the present. When employing fictional techniques and literary devices,
it gives us tools to transpose fact into a compelling, gripping format.
It's one thing to watch television in black-and-white, and another to
watch it in color. Creative nonfiction is the bridge connecting true
stories to creative means in which to relay these stories. Hampl says,
"We seek a means of exchange, a language which will renew these ancient
concerns and make them wholly, pulsingly ours," (I Could Tell You
Stories, 31).
 
Creative nonfiction is not a new style of nonfiction writing, but it's
becoming a more widely accepted form. Universities have entire
departments solely dedicated to the genre; more publications prefer
creative nonfiction pieces; writers are being recognized for
contributing to this style of writing, and many are experimenting with
the genre.
 
The following are just a few well-known publications publishing creative
nonfiction:
*      The New Yorker
*      Harper's Magazine
*      Tin House
*      Threepenny Review
*      The Iowa Review
 
And new publications have cropped up publishing creative nonfiction.
Many newer publications accept edgier, experimental pieces though
appreciate traditional creative nonfiction as well. These publications
have gained credibility and praise within the literary community. To
name a few:
*      Identity Theory
*      Revolution House
*      South 85
*      Timber
*      Mixed Fruit
 
There's no better way in which to learn about writing than to read the
work of published writers in any given genre. I will list writers and
their work. These are of course some of my favorite pieces.
 
"Ashes" by David Sedaris, an excerpt from his book Naked.
 
Sedaris was born in New York state but grew up in North Carolina. He's
the second oldest of six. One of his sisters is the actress Amy Sedaris.
 
While in his teens and early twenties, Sedaris was involved in the
performing arts, which he has written about in several essays.
 
He graduated from Chicago's Art Institute in 1987 and has been published
in prestigious literary magazines like the New Yorker and fEsquire.
 
After a successful reading of his essay "Santaland Diaries" on NPR in
1992, Sedaris has continued to have a presence on NPR.
 
Along with nonfiction, Sedaris writes fiction and plays.
 
He lives with his long-time partner Hugh Hamrick.
 
Clan of the One-breasted Women, an essay by Terry Tempest Williams.
 
Williams writes about environmental and social issues believing humans
are connected to the world around them mentally and physically.
 
William's is a naturalist and advocates for freedom of speech. She has
testified before congress on women's health issues, been a guest at the
White House, has camped in the remote wilderness of Utah and Alaska and
worked as a "barefoot" artist in Rowanda.
 
She writes with passion and often in a lyrical style. She's the author
of:
Refuge: An Unnatural History of Family and Place; An Unspoken Hunger:
Stories from the Field; Desert Quartet; Leap; Red: Patience and Passion
in the Desert; The Open Space of Democracy; and Finding Beauty in a
Broken World. Williams has written two children's books: The Secret
Language of Snow, and Between Cattails. She's a columnist for the
magazine The Progressive.
 
Her work has appeared in such publications as the New Yorker, Orion, The
New York Times and the Iowa Review.
 
Among other awards, Williams has been the recipient of the Distinguished
Achievment Award from Western American Literature Association; the
Lannan Literary Fellowship and a John Simon Guggenheim Fellowship in
creative nonfiction. She's also received awards for her environmental
work and activism.
 
Williams is currently the Annie Clark Tanner scholar in environmental
humanities at the University of Utah.
 
Williams and her husband, Brook Williams, spend their time between Utah
and Wyoming.
 
Maxine Hong Kingston's "No Name Woman," from her book, Woman Warrior:
Memoir of a Girlhood Among Ghost.
 
Kingston was born in California to Chinese immigrants. She explores her
unique heritage along with being female in most of her writing.
 
She studied engineering before switching to English at Berkley in
California. She married Earl Kingston and taught high school English
upon graduating.
 
After relocating to Hawaii, Kingston finished and published The Woman
Warrior: Memoir of a Girlhood Among Ghost, which won the National Book
Critics Circle Award.
 
A documentary, Maxine Hong Kingston: Talking Story, was released in
1990.
 
Along with various other awards, She has been the recipient of the
National Endowment for the Arts in 1980; was awarded the National
Humanaties Metal in 1997, and in 2007, she won the Northern California
Book Award Special Award in publishing for Veterans of War, Veterans of
Peace (2006) an anthology she edited.
 
A few of her other works include, China Men; Tripmaster Monkey: His Fake
Book; and The Fifth Book of Peace.
 



On Being Mama
By Myrna Badgerow


An early spring mist fell as we entered the church that March morning.
So fitting we should say our good-byes under leaden clouds. And yet the
sun in its stubbornness seemed determined to make an appearance, mocking
the somber mood.
 
I have always hated funerals but this one-how this one hurt. I sat in
the front pew, waiting for Mass to begin, wondering how one says
good-bye.
 
I observed the steady procession of mourners as they paid their last
respects to you. You touched so many lives, and I'm sure you never
understood the impact on each of them.
 
My thoughts drifted to another time, before a hideous disease plunged
you into its cruel world of silence and vacant stares.
 
You were a feisty, little thing, but your hands were always gentle upon
your children. You loved us completely, expecting good behavior and our
best efforts. You raised all six of us to be independent, compassionate,
loving and hardworking. Times were often hard, but never did I hear a
word of complaint. With many trials, you never delved into self-pity.
 
Never did you allow us to travel down that path either. You put up with
Daddy too, and that was not always an easy task.
 
Your faith was strong and your will even stronger. Who knew then how
important that faith would become? Who knew your loved ones would rely
upon your faith to make us stronger?
 
Years went by, and soon all your nestlings flew away, leaving you and
Daddy to enjoy your senior years. It should have been the best time of
your lives, but pinpricks of uncertainty gave us pause.
 
Something was wrong, very wrong. You had always been somewhat quirky and
forgetful. I couldn't remember many instances when you hadn't trailed
through the list of my siblings names before landing on mine.
 
I smiled, remembering an older brother instructing me to just answer on
the first name called. She would get to me eventually, he explained.
After all, that was just Mama being Mama, he often said.
 
But what was once quirky now bordered on bizarre, and we knew there was
a problem. 
 The doctor said Alzheimer's Disease. This diagnosis did not surprise
us, though we wished it to be something else. The ensuing years passed
in either unrelenting swiftness or agonizing slowness, depending on your
state of lucidity.
 
I realized at one point it became a guessing game of does she know me,
and did she understand that. The game's rules constantly changed using
your memories as pawns. You had long been bedridden and silent when your
body slowly deteriorated, and you left home for the last time. After
months in the hospital, you simply stopped breathing, quietly leaving
this world with no fanfare and no fuss. You were just being Mama.
 
My reverie was interrupted as we prepared for our final farewell. We
gazed upon your peaceful face just once more. I was a fool thinking I
had grieved for the past seven years, and I could now let you go without
grieving more. How does one say good-bye to your mother, I wondered.
 
Sorrow I had never known overwhelmed me. As much as I wanted to look
away, I was incapable. My gaze remained focused as they slowly closed
your casket. 
 
As I wept, a ray of sunlight peeked through the stained-glass window
behind me, seeming to kiss your casket. For the briefest instant, I
heard a French lullaby you sang to me as a child. The light faded, and
then came silence.
 
Did I imagine it? Was grief playing its cruel tricks upon me? I was some
distance from your casket, so surely I imagined it.
 
My rational mind told me this but my heart and soul told a different
story. It was your spirit emerging from a shadowy, silent existence. No
more were you tethered to a world of forgotten memories, bound to a body
you no longer recognized. Finally you were free to drift into the
clouds, into the sun, into the night sky. You were free to go wherever
you wished.
 
I heard my name whispered, followed by, "Always remember, Mama loves
you."
 
I sobbed, knowing you remembered my name afterall. My own whisper
drifted into the fading light, "Good-bye, Mama."
 
On Being Mama won third place in the 2013 NFB Writers' writing contest.
 
Myrna Badgerow is a native of Louisiana's bayou country and has been
writing for 13 years. She is widowed, the mother of three grown
children, and the grandmother of seven.
 
She has published several collections of poetry and one collection of
short stories. Her work has appeared in several online venues and also
in several small press literary magazines.
 
She has been credited as a co-writer for a track on a CD by a band out
of New York City. 
 
Writing On Being Mama was one of the most emotionally difficult
undertakings of my life. I had no idea how I would capture and portray
the essence of the vibrant woman she was before her illness, nor the
woman she became during those years of silent stares.
 
It occurred to me after much soul-searching and digging deeply into the
memories of that sad time that no matter what stage of the disease she
had progressed to, she was in so many ways still just 'being Mama'.
Writing this memoir allowed me to come to terms with her loss to a
certain extent and also to understand that Mama will always be with us
in spirit and be that quirky and lovable lady we all loved.
 
Perhaps she never realized the legacy she would leave behind, but I
suppose that too would be her just being Mama.
 



Slate & Style Submission Guidelines

 
Slate & Style is a quarterly publication of the Writers' division of the
National Federation of the Blind (NFB Writers). It is dedicated to
writing including literary pieces along with resources and information
about various writing styles. A majority of Slate & Style's contributors
are visually impaired, but we welcome submissions from any contributor,
professional or amateur. We also accept submissions touching on any
subject matter.
 
Slate & Style accepts short fiction, short creative nonfiction, poetry,
articles discussing and providing tips for various writing styles
including literary, technical, editing, public relations and academic,
literary criticism and resource information.
 
Subject matter is not limited though it will be up to the editor's
discretion to publish.
 
Slate & Style accepts material from adults and children. We prefer email
submissions. Please no hand-written or Braille submissions.
 
An annual subscription costs $15. The cost for an individual issue is
$5. Members of the Writer's Division receive issues free of charge. An
annual membership costs $10. Visit our website to pay via PayPal at:
<http://www.nfb-writers-division.net/>
http://www.nfb-writers-division.net,
or contact us at newmanrl at cox.net for other payment options.
 
We accept submissions from January first through September first. Please
give Slate & Style six weeks to hear back from us. All submissions are
considered for publication but not all pieces will be published. We may
keep submissions to be used for later publication. The editor may
respond with comments and suggestions, giving contributors an
opportunity to resubmit. Please be patient and wait the full six weeks
before contacting us about a submission.
 
Submissions are welcome at all times, however, please read through the
guidelines carefully. Submissions that don't follow these guidelines
will not be considered for Slate & Style. 
 
Submission guidelines are as follows:
*      Length requirements are: articles, 1500 words or less, fiction
and
memoir/personal essay, 4000 words or less, poetry, 39 lines or less.
*      Please send nonfiction, both articles and essays, and short
fiction
submissions one selection at a time. You can submit up to three poems at
a time. Include bio and contact information for each submission sent.
*      Include a title page along with your submission with author name,
title of piece and contact info-phone, email and address. Please include
this as an attachment and not in the body of an email.
*      Please include a brief bio of yourself-no more than 150 words. Do
not
send an entire history, just include key items you feel are important
for readers to know.
*      Book reviews should have a more academic approach. Don't just
state
you liked it or not, and don't simply summarize a book. We are seeking
literary criticism. Address tone, format, style, character and plot
development and the over-all writing. The length for book reviews is 700
words. Bios do not need to accompany book reviews.
*      All email submissions must be attachments and sent to
bpollpeter at hotmail.com. Do not paste entries into the body of an email.
Entries simply pasted into an email will not be considered.
*      In the subject line of your email, write: Slate & Style
submission,
name, title and genre. EX: Slate & Style, Bridgit Kuenning-Pollpeter,
title of submission, genre.
*      Use Microsoft Word or create an RTF document for all submissions.
No
other formats are accepted, and therefore will not be considered. Please
do not send hand-written or Braille submissions.
*      Proofread and check your grammar and formatting before
submitting.
Submissions with too many errors will either be returned with
corrections to be made if you wish to resubmit, or it will not be
considered at all.
 
Slate & Style will consider all submissions for publication. However,
please be careful with graphic sexual and violent content as well as
language and anti-religious, anti-gender, anti-racial and
anti-homosexual orientation content. Characterization and plot often
require this type of material, but it must serve a purpose. Gratuitous
material with no purpose or meant only for derogatory reasons, will not
be considered, however, material will be published according to the
discretion of the editor.
 
Please direct questions and comments to Bridgit Kuenning-Pollpeter at
<mailto:bpollpeter at hotmail.com> bpollpeter at hotmail.com.
 

 


 

 

NFB Writers' Division Critique Service

 
Have you just written your masterpiece? Finished that article you've
been working on? Completed a compelling memoir? Would you like a
seasoned writer to give you an evaluation of your material? 
 
The NFB Writers' Division has established a critique service. For $10,
you will receive a written evaluation for any of the following: 
*      Short story, max 3000 words
*      First chapter, or first 20 pages, of a novel
*      up to 3 poems, 36 lines or less per poem
*      Children's story, max 3000 words
*      First chapter of a Memoir, or first 20 pages
*      Nonfiction article, 20 pages max
 
The critique will contain feedback on the following: 
*      Format
*      Mechanics
*      Overall quality
 
If interested, submit work as an email attachment using MS Word. Double
space and email to: 
Robert Leslie Newman, president
NFB Writers' Division
 <mailto:newmanrl at cox.net> newmanrl at cox.net
 
Material may be submitted at any time. Critiques will be emailed back
within 30 days from receipt of reviewer. We have a small pool of editors
available, so submissions may need to sit before an editor is free to
review.
 
*NFB Writers website is currently under-going work and is therefore
unavailable. Please opt to send a check for now, or contact Robert
Leslie Newman, president, NFB Writers.
 
The $10 fee can be paid via check or online. For checks, make out to:
NFB Writers' Division, and send to: Robert Leslie Newman 504 S 57th St.
Omaha, NE 68106
 
For PayPal, visit the Writers' Division website at:
<http://www.writers.nfb.org> http://www.writers.nfb.org.


 

Slate & Style Seeking Submissions for Holiday Issue

 
Last year, Slate & Style published the first-ever holiday issue. We
offered a short volume, but it was a hit. So, looking forward to 2014's
holiday season, we will now begin accepting submissions. And by holiday
season, we mean holidays falling between November and January.
 
We will accept short fiction, poetry, memoir/personal essays and
articles discussing various holidays and interesting information and
histories. All submissions must be emailed by October first. Refer to
Slate & Style's submission guidelines for length.
 
Material can be previously published or brand-spanking new. If
submitting previously published material, please note and provide
publication name and year.
 
Submissions do not have to be about Christmas. They can relate to any
aspect of the holiday season between November and January, and it can
involve any religious activity, tradition and/or custom celebrated or
practiced around the holiday season. And you don't have to directly
write about a holiday, but simply have your submission take place during
the holiday season.
 
No subject matter, genre or style is off limits. We will consider all
submissions. Try to not be over-sentimental though. Edgy and gritty are
perfectly acceptable. Sentimentality is not against guidelines, but
neither is darker, edgier material. Be realistic and honest in your
approach. Remember, It's a Wonderful Life wasn't all sunshine and
rainbows and puppy dogs, and A Christmas Story relied on wit and
sarcasm.
 
Last year's issue included a fiction story about a mother coping with
the death of her son, a memoir about a little girl addressing her
dysfunctional parents, a poem celebrating the New Year and a fiction
piece taking place after a zombie apocalypse.
 
Submissions must be emailed by November first. Please submit by
following regular Slate & Style guidelines, which are in each issue of
the magazine and on the Division website. Email me at
<mailto:bpollpeter at hotmail.com> bpollpeter at hotmail.com with questions.
 


 

NFB WRITERS' DIVISION MEMBERSHIP

 
If reading Slate & Style for the first time, and you're not a member of
this division, please consider joining. The division's strength comes
from diversity among the membership. 
 
There are two methods in which to pay for a membership, which cost $10
per
year:
*      Access our PayPal button from the Writers' Division's Website
<http://www.nfb-writers-division.org>
http://www.nfb-writers-division.org.
*      Contact Robert Leslie Newman, president, NFB Writers', and notify
him
of your interest in joining the Division. Send email to
newmanrl at cox.net.
 
Dues help finance division activities, including the publication of
Slate & Style, and our division's annual writing contest.
 



Where the Blind Work

 
The Jernigan Institute, Employment Committee and the Writers' Division
have partnered on a project to assist blind people seeking employment,
and we need your help. We are building a database to act as a resource
detailing job descriptions and how people who are blind can compete
within these fields.
 
Where the Blind work is a great informational resource assisting youth
planning for future employment and for adults seeking to change jobs
and/or careers. We will accept a description of your current job, or
past employment, and your welcome to fill out descriptions for both.
 
The database is divided into twelve generalized categories. They are:
*      Administrative and Office Careers
*      Business/Entrepreneurial Careers
*      Computer Specialists
*      Customer Service
*      Education
*      Financial
*      Government
*      Human Services
*      Law Enforcement and Legal Careers
*      Media, Marketing, and Public Relations
*      Medical
*      Vocational Jobs
 
Your description needs to be less than 1,000 words and must follow the
below five-question format. When completed, please email them to,
<mailto:newmanrl at cox.net> newmanrl at cox.net.
 
* indicates a required field (This is the template in which to follow
and not an actual document to fill out)
 
1. Personal information:
*Name
*Industry in which you work (example: financial services)
*Job title
Employer
Street address (work or home)
City, State, Zip Code
Phone number (work, home, or cell)
E-mail (work or home)
 
*2. Please explain to us what any worker would do on this job.
Specialized blindness alternatives will appear in the next question.
 
*3. What adaptive technology and tools do you use on the job? Please
provide what type of visual impairment you have. What are the
limitations with your type of blindness? List all and any
blindness-related tools and methods you use on the job, describing how
and why you use them.
 
*4. Please let us know of any required training, education, degrees and
certificates and experience, needed for this job. 
 
*5. Please share information about people, resources, tools and training
you feel assisted to make you successful in your chosen field.
 
Note: To aid in filling out your job description, read several earlier
posts at the Where the Blind Work page:  <https://nfb.org/wtbw-main>
https://nfb.org/wtbw-main.
 
 
 
 
Robert Leslie Newman
Personal Website-
http://www.thoughtprovoker.info <http://www.thoughtprovoker.info/> 
President, NFB Writers' Division
Division Website-
http://writers.nfb.org
Chair, NFB Communications Committee
Vice President, Nebraska Senior Division 
First Vice President, Omaha Chapter
Commissioner, Nebraska Commission for the Blind and Visually Impaired